By I. Scott
This book is concerning the emigration, movie careers and socio-cultural impression of British filmmakers relocating to Hollywood within the studio period. It offers with a number of the unknown and ignored émigrés, in addition to the prime lighting who based, initiated and ensured that American movie turned the prime nationwide cinema of the 20th century.
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7 “But in my experience, the filmmakers of the pioneering days were a much more colourful breed,” Brownlow adds, referring to the more general experience of the time, not simply the films regaling that period almost after the fact such as Vidor’s. “Hollywood films have never done justice to their expressive turn of phrase, which linked them so strongly to their period,” he concludes8 Brownlow identifies that which the British themselves coming to Hollywood knew from the off; that the early instigators could dictate the pattern of social and cultural interaction to their own advantage.
20 In 1918 Barker left Triangle just as its financial situation was worsening and Ince’s mercurial touch was beginning to desert him in the increasingly competitive marketplace of the burgeoning Hollywood. 22 After this, Barker moved on to the Goldwyn Company where he directed 17 films in a 4-year period. Six of the films were for the actress Geraldine Farrar who struck up a rapport with Barker, so much so that all of her Goldwyn output bar one film was with the director. Interestingly enough, that one film was The World and its Women directed by another up-and-coming young Brit, Frank Lloyd.
But, in Marantz Cohen’s eyes, these developments were only contributory fragments in America’s growing love affair with the moving image. For her, 44 From Pinewood to Hollywood cinema in the early twentieth century did what the American myth dating back to Tocqueville, Crèveocoeur, Jefferson and Winthrop had done: it conceived of America as the beginning of something, as a new start in the history of mankind, and as a chance to dictate the future direction of the world. More than this, film offered up the opportunity, as photography had already done, of (re)creating the “reality” of America and presenting it back to itself.